Of course. Those guys have had elements of their music ripped by a ton of people, IMO.

You know, I've seriously considered building one of these suckers but I just simply don't have a place to set the thing up right now. The other thing is it's a complete pain in the balls to find a place that will set you up with a selection of steel to "tap on" and choose from... at least that's what I've found in my some what limited searches. If you can't weed out a really nice sounding piece of steel it's a serious waste of time, money, and energy. One of these day's I'll get around to building one but landing that "magic steel" is definitely going to be the hardest part of it.

A bandmate of mine and his wife are both metalworkers so I'm hoping they can hook me up with some good metal and help with the construction!

Shit Yea!!!... I can smell the hair spray already. Man, I miss those 80's chic's... huge freakin' hair and spandex so tight you could lip read . My tweekers are all excited just thinking about it... heh

Maybe so but used right in the mix and it's a great way to make it sound bigger... but you knew that... Me likey reverb... especially Fender spring in a 64 Blackface Super.

That's great. Would love to know how it turns out for ya... keep us posted!

Well now, that there's a whole nother nother. Yer s'posed to warn a feller when yer gonna go and get all sexshul and the like.

I forone, hope that reverb becomes all the rage again...How can anyone like a snare that sounds like triggered burnt toast...Letsssss..s...s...s gett.t...t..t.t....t. some.e...e.e..e..e..sspppaaacceeee in tthhthereeeee..e..e..e..

Some vocals just sound right with a lot of reverb on them. Neko Case is a good example, when you hear her reverb drenched vocals, it makes her country twang sound even better and more authentic.

Normally I hate it but I am using a lot on this project.

It sounds like Martha & the muffins, "Echo Beach" but I suppose Marvin & the Muffins would be more apt, seeing as they are all guys.

I am trying to make it all one beautiful clanging corridor of pitch, kinda Oasis meets the Buzcocks via the Ramones.. Presently it sounds like a clanging pile of sh!t because I am mixing!

Eventide - Plexiverb chamber 2 - on AC30 / 335 type sounding gtrs

1/4 note delay on Sex pistol Les Paul gtrs...

TCM3000 dual engine
Engine one - various -
Engine two - bright space B vox

AMS RMX 16 - lead vocal / solos, whatever keep for Lvox mostly

My Roland 555E space (tape) echo never really got off the starting blocks since I bought it a year ago.. Perhaps its broke.

I know it is dated, but the gated verb on Cameo's 'Word up' still kills me.

No matter where you say it, you know that you'll be heard...

grggt

I have two M3000s, and that bright space rev is almost allways finding its way onto bgvs ( song dependant, but great patch when tweaked a bit..)

When I look over at the fx rack for the current mix I am on, I keep seeing decay times like 0.3, 0.7, 1.2... I use reverb alot, but like Jay said, it's more feel than hearing..

On my big ballad mixes on the other hand....

Swim away!

I'm digging convolution reverb. I'm on PC so I use SIR (freeware). You can create crazy reverbs by processing the impulse file in different ways - EQ, envelope, layering, etc. I took an IR and applied panning automation to it, so that the early reflections are mono and the tail is stereo. It sounds cool on drums. It could also be cool on vocals, for a slow ballad.

I always wanted to get a junked upright piano and turn it into a reverberator. I would use a Helpinstill bar (a huge magnetic pickup for pianos), and rig up a damping mechanism for adjustable decay time.

no

yes

I dunno. I know a guy that's worked with him a few times. The next time I see him (about 4 times a year when he's not on the road) I'll ask him.

You know what I really hate about reverb? When I can hear the tizzy HF crap that comes with it. When I can't hear that I'm fine. When I hear that slice through I want to pull the stuff off and make it a dry mix. I still have no idea what half the parameters on my Lex do. Bass multiplier? WTF is that??? I can't really hear it doing anything.

Do you prefer to EQ the *send* or the *verb* to reduce annoying frequency buildups in the verb?

use a low pass filter.

reverb doesnt suck. some reverb units suck. real reverb really doesnt suck. plates definately dont suck. altiverb only sucks with shitty samples but kills with great samples. bad use of reverb sucks. good use of reverb doesnt suck.

reverb can make things sound ****ing HUGE. or make them sound tiny.

engineers who dont know how to set up reverb suck.

Oh man... I gotta tell Pensado about this...

That's beautiful...

Well put, amen.

Engineers who crank up the reverb because they can't get a DECENT MIX without it REEEAALLY suck.

And I'm NOT referring to natural room ambience...THAT SHOULD have been obvious.

Doesn't anybody use delay these days? A nice bpm-synced stereo space-echo? Has a lot of advantages over that reverb crap...

Eric surely you're playing devil's advocate here...

delays are more fashionable than reverbs but listen to Avalon, sure it's reverbs a go-go but 'tis lush..

Maybe it amuses you seeing people 'defend' reverb..

How about =reverb is life, the world is sound (ask Talvin Singh) everything is reverberation because sound is just the clattering of air from one object damaging another...maybe you prefer silence..space travel maybe..heh

Woah! Pensado did word up? That song is one of my all time favorites, really one of the reasons I play music, as silly as it seems in retrospect! Did he do Bell Biv Devoe's Poison? I know he worked with them. Poison is like Beethoven's Fifth or something.

I know what you are trying to say, but this would apply to natural ambiences, not canned reverb normally found in TC/Lexi/Plugz/etc. I've yet to hear a canned reverb that sounds like "life."

I've heard that the multi-gajillion dollar Sony modelling box sounds close. But let's not pretend these boxes are "lifelike."

I don't think that the modern "pop genre" recording process is sympathetic to "lifelike"...

Check the following for "lifelike"
delay
chorus/modulation
auto tune
compression
etc...

Hey Renie,

Are you speaking of Roxy Music/Bryan Ferry Avalon?

That was mixed by Bob Clearmountain who is great at using reverb artistically. So is Mick Guzauski who makes his living by mixing the big David Foster/Walter Afanasieff/BabyFace type pop ballads.

Sarah Mclachlan,Seal,Daniel Lanois "Acadie and For The Beauty of Wynona", Enigma,Enya,Brian Eno all use reverb creatively to create beautiful landscapes.

I think again its style dependent. Some music(punk and reggae) for example just don't sit right with luscious backgrounds.heh

I think the natural versus artificial thing is kinda a ridiculous argument. We are working on a 2 dimensional plane trying to trick the listener in thinking that its 3D.

What is a greater uphill battle than that?

Whatever we use to get it done and how we do it is irrelevant. In the end, if it helps the song become more personal and emotional to the listener, than the reverb accomplished its job.

Pop is about illusion and imagination and needs to sounds alive too.

I don't think most people really care about whether ambience is true sounding or canned, both can be good, depends on the application.

I was just having a bit of fun with Eric.

Quite true. I think AJ put it very nicely..."bad use of reverb sucks. good use of reverb doesnt suck".
Absotively, whenever appropriate...

<snipped just a tad>
Sometimes yea, sometimes ney...

Yes, the Roxy Music Avalon is the one.

Have you worked in surround? do you think it'll take off in pop ever?

Do you think you could guest mod for a month? I mean it..